Machine hallucination nyc12/19/2023 ![]() It’s been a controversial year for New York’s massive Hudson Yards project, with detractors calling it – and glittering showpiece, The Vessel – a gaudy playground for oligarchs. In another gallery, two boy sopranos perch on low, rock-like sculptures in Jennifer Allora and Guillermo Calzadilla’s Fault Lines, trilling Shakespearean insults at each other and referencing the breakdown of social order.Īn abundance of new works fills the almost 60 galleries, thanks to Moma’s archival deep dive, and the opening attractions such as the provocative street art performances of African-American visual artist William Pope.L – offer a tantalising glimpse of things to come. 1967 that depicts the bloodspattered US race riots of the ’60s. For example, Picasso’s oversized, iconic Les Demoiselles d’Avignon (1907) shares the room with African-American artist Faith Ringgold’s equally massive and jarring American People Series #20: Die. The space has seen an injection of movement, multiculturalism and a spirit of experimentation that industry watchers say is very timely.Ī strict chronological approach has been thoughtfully disrupted with a refreshingly thematic one. The grand, soaring atrium is abuzz as performers wheel six giant, softly rattling, bell-covered sculptures through watching crowds. ![]() Moma reopened last October after a US$450 million (S$610 million) renovation and a 47,000 sq ft expansion – and its transformation is quickly apparent. ![]() Among the wave of new design-led openings, we feature the best and brightest in the following pages. The sculpture is the latest in NYC’s minor design renaissance. It is created from 100 separate pieces that were made using the traditional lost-wax bronze casting process and located at an ideal focal point for the Spur, which, unlike most of the High Line’s narrow passageways, was designed to be a space where people could mingle and congregate for performances.Īs each major artwork is exhibited for 18 months, Brick House is on view till September, and complements other artistic initiatives such as Channel, the High Line’s outdoor video art programme. “Brick House evokes the idea of femininity as something strong and durable, rather than fragile.” “Simone wanted it to be more of a general portrait of black women,” explains Kress. ![]() One senses the woman gazes proudly, unapologetically outward, despite her lack of eyes. The woman’s cornrow braids, which Leigh describes as “flying buttresses”, also suggest the chains of slavery. “It has to have a certain grandiosity and be able to hold the space because there are so many viewpoints – on the High Line, from the street, and from the skyscrapers around it,” adds Kress, whose team had to address several concerns, including “challenging the histories of public art and traditional bronze equestrian statues of often white, male war heroes”, while also contending with the “cacophony and architecture of the city”. “The artwork needs to signal this site as a new landmark for public art in New York City,” says Melanie Kress, High Line Art’s associate curator. An estimated 8 million visit it annually, with an average of 40,000 per day. It is the first space on the High Line Spur, the final portion of the massively popular public park built on a freight rail line above Manhattan’s West Side - and one of the only New York City (NYC) sites dedicated to a rotating series of new and monumental contemporary art commissions. Choosing the starring artwork for Plinth, one of Manhattan’s most highly scrutinised venues is, literally, a monumental challenge.
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |